Flow: a state in which people are so involved in an activity that nothing else seems to matter; the experience is so enjoyable that people will continue to do it even at great cost, for the sheer sake of doing it.

Psychologists tend to see creativity exclusively as a mental process [but] creativity is as much a cultural and social as it is a psychological event. Therefore what we call creativity is not the product of single individuals, but of social systems making judgements about individual’s products. Any definition of creativity that aspires to objectivity, and therefore requires an intersubjective dimension, will have to recognise the fact that the audience is as important to its constitution as the individual to whom it is credited.

Csikszentmihalyi defines flow as “a state in which people are so involved in an activity that nothing else seems to matter; the experience is so enjoyable that people will continue to do it even at great cost, for the sheer sake of doing it.” He claims that these “flow experiences” comprise many of the best moments of our lives. Complete absorption in an intriguing, thought-provoking text is an ideal way to enter this state.

When an athlete’s body and mind is stretched to its limits in a voluntary effort to accomplish something challenging, such as shooting 60 in the final round of the Scottish Open, as Brandon Stone did last week, they are said to be in a state of flow. This almost intangible performance experience speaks directly to the work of Mihaly Csikszentmihalyi (pronounced: Me high? Cheeks send me high!). His suggestion was that people find genuine satisfaction when they are completely immersed in an activity that requires their creative abilities, in order to be successful on that task... Interestingly, since the introduction of ‘flow’ in the 1970s, it has become somewhat of a mystical, mythical part of sports performance.